br>This is bloody amazing! I haven't been so excited by a plugin for a long time. Congrats, Michael! br> br>

br>thelizard

br>Thank you, everyone!!! br> br>

br>poppinger

br>Been looking forward to this. Snagged. br> br>

br>astrodislocate

br>I noticed that you made it so that the plugin makes your DAW compensate for the unavoidable delay when you're recording so that you don't have to cut out a bunch of silence. That's an awesome touch. I'm having a blast with this. Congrats on the release dude br> br>

br>poppinger

br>I think one of the coolest things is all of the weird windowing functions.

Actually, I'm not even sure if they're the same as the regular "named after two mathematicians" windowing functions but just renamed to give some hint of what they do or whether they're totally experimental. Either way, this is the first time that I've enjoying messing around trying different ones in audio software. br> br>

br>thelizard

br>

astrodislocate wrote:

I noticed that you made it so that the plugin makes your DAW compensate for the unavoidable delay when you're recording so that you don't have to cut out a bunch of silence. That's an awesome touch. I'm having a blast with this. Congrats on the release dude

Thanks! Reporting latency is such a bear. That took a lot of QA testing for it to play nice with each DAW.

@poppinger: I appreciate it. I wrote a post on KVR addressing the windowing. They're actually the usual windowing suspects, but we're doing a overlap-add technique that, when combined with the effects, really accentuates the properties of each window. I was also very surprised by it. Here's the post I wrote over there:

Yes, the Flutter/Flat-top window is very sinc-like in shape, so it leads to some additional grain-like sounds. "Glitchy" is ironically the cleanest at neutral settings (since we're doing an overlap-add technique), but it falls apart quickly with the effects. Changing the window doesn't really change much else in the algorithm.

I'll add this to the next manual update. Personally, I chose these names as a way to emphasize that SpecOps is meant to be fun to use. It always seems weird to me that spectral plugins would throw engineering terms at musicians and sound designers. It's not a bad thing, but as a musician who later became an engineer, I remember always being intimidated and overwhelmed by a lot of that. I also wanted to do something like Alchemy for window size. They had settings like "Better time, worse pitch" or something like that. However, we had too many window sizes for similar descriptions.

...

It's pretty crazy how clearly defined each window's signature is with these effects. We tried practically every window on that page along with a few others. At one point, I think the window list was like 15-20 windows. We narrowed it down and eliminated a bunch of windows that sounded very similar.